HR011 — Konstruktivits — Spanish Movements — C90
Review by Jerry Kranitz
Spanish Movements is the second Konstruktivits cassette album to be released by Harsh Reality and still the only artist on the label to not be among the Memphis gang of recording friends. The set opens with music that sounds like lo-fi syncopated Tangerine Dream blended with minimal space electronica, throwing the listener off balance with moments of lysergic meltiness. The next track features dual electronic patterns that are at times minimal and nicely melodic, gradually developing against the backdrop of a slow moaning, ebbing and flowing intergalactic drone wave. And then we take off right into space, with cosmic symphonics, more minimal electronica, and wildly zipping and soaring alien effects. This is developing into an impressive space electronica album with a tasty conglomeration of minimalism, avant-experimental adventure, melodic electronica, and freaky effects fun.
After a while I hear a tune that reminds me of a section from Kraftwerk’s Autobahn, but also includes multiple playful melodies AND a guitar solo that sounds like early Ash Ra Tempel. In fact, I think this is the first guitar I’ve heard on the album, and indeed this is followed by a track with jamming stoned psych guitar supported by minimal industrial electronica and cheesy electro percussion. Now things are getting REALLY cool, strange and FREAKY! Another piece combines free form jamming psych guitar, an eerie horror movie soundtrack organ and a robotic rhythmic pulse.
Side B kicks off with a cool tune that’s part synth-pop and part spaced out trippy experimental psychedelia. But with the next song we get into darker industrial territory, though it still retains a free-wheeling cosmic character. And on we go with a haunting, minimal synth exploration that’s both industrial and deep space Tangerine Dreamy. I really like the experimental spaciness that characterizes much of this set and the way it variously includes industrial, Kosmiche, and synth-pop influences. And there’s lots of music that sounds like candidates for avant-garde theater soundtracks and horror films, at one point bringing to mind a lo-fi Residents Mark Of The Mole.
Spanish Movements is the second Konstruktivits cassette album to be released by Harsh Reality and still the only artist on the label to not be among the Memphis gang of recording friends. The set opens with music that sounds like lo-fi syncopated Tangerine Dream blended with minimal space electronica, throwing the listener off balance with moments of lysergic meltiness. The next track features dual electronic patterns that are at times minimal and nicely melodic, gradually developing against the backdrop of a slow moaning, ebbing and flowing intergalactic drone wave. And then we take off right into space, with cosmic symphonics, more minimal electronica, and wildly zipping and soaring alien effects. This is developing into an impressive space electronica album with a tasty conglomeration of minimalism, avant-experimental adventure, melodic electronica, and freaky effects fun.
After a while I hear a tune that reminds me of a section from Kraftwerk’s Autobahn, but also includes multiple playful melodies AND a guitar solo that sounds like early Ash Ra Tempel. In fact, I think this is the first guitar I’ve heard on the album, and indeed this is followed by a track with jamming stoned psych guitar supported by minimal industrial electronica and cheesy electro percussion. Now things are getting REALLY cool, strange and FREAKY! Another piece combines free form jamming psych guitar, an eerie horror movie soundtrack organ and a robotic rhythmic pulse.
Side B kicks off with a cool tune that’s part synth-pop and part spaced out trippy experimental psychedelia. But with the next song we get into darker industrial territory, though it still retains a free-wheeling cosmic character. And on we go with a haunting, minimal synth exploration that’s both industrial and deep space Tangerine Dreamy. I really like the experimental spaciness that characterizes much of this set and the way it variously includes industrial, Kosmiche, and synth-pop influences. And there’s lots of music that sounds like candidates for avant-garde theater soundtracks and horror films, at one point bringing to mind a lo-fi Residents Mark Of The Mole.
INTERVIEW with Chris Phinney by Kranitz
JK: Konstruktivits
CP: It was the second tape that he [Glenn Michael Wallis] wanted me to release. I released it and it sold well. And he got some money. Damn good tape. That’s the reason I wanted it. The band was damn good. Much different than the power electronics band, Whitehouse which Glenn was in at one time.
JK: Despite the issues you had described earlier with royalties, you kept releasing tapes. Did he send you these tapes one at a time?
CP: One at a time.
JK: And you did two more tapes (HR046, HR105)
CP: He didn’t start getting mad until the last one. But the tape is some bad ass electronics.
JK: Oh, it’s killer. In my review I made references to Ash Ra Tempel, Kraftwerk’s Autobahn, and some kosmiche Tangerine Dreamy stuff.
CP: All of it mixed together. You see, he was mad at Gary Levermore of Third Mind Records at this time, because the tapes were taking too long to be pressed into LPs. I mean, I know Gary Levermore. I’m not going to say anything bad about Gary. Gary takes the time and the money to put the thing out. He’s an indie label. What’s left now? Cherry Red, Beggar’s Banquet, and one other. I can’t remember, but one other indie label in England that’s big like Cherry Red and Beggar’s Banquet.
JK: So he was more mad at Gary at the time than he was you?
CP: Yeah. And he was sending tapes out. I know Carl released at least one Konstruktivits on Audiofile.
JK: Like seemingly everyone else, he was on a whole bunch of labels.
JK: Konstruktivits
CP: It was the second tape that he [Glenn Michael Wallis] wanted me to release. I released it and it sold well. And he got some money. Damn good tape. That’s the reason I wanted it. The band was damn good. Much different than the power electronics band, Whitehouse which Glenn was in at one time.
JK: Despite the issues you had described earlier with royalties, you kept releasing tapes. Did he send you these tapes one at a time?
CP: One at a time.
JK: And you did two more tapes (HR046, HR105)
CP: He didn’t start getting mad until the last one. But the tape is some bad ass electronics.
JK: Oh, it’s killer. In my review I made references to Ash Ra Tempel, Kraftwerk’s Autobahn, and some kosmiche Tangerine Dreamy stuff.
CP: All of it mixed together. You see, he was mad at Gary Levermore of Third Mind Records at this time, because the tapes were taking too long to be pressed into LPs. I mean, I know Gary Levermore. I’m not going to say anything bad about Gary. Gary takes the time and the money to put the thing out. He’s an indie label. What’s left now? Cherry Red, Beggar’s Banquet, and one other. I can’t remember, but one other indie label in England that’s big like Cherry Red and Beggar’s Banquet.
JK: So he was more mad at Gary at the time than he was you?
CP: Yeah. And he was sending tapes out. I know Carl released at least one Konstruktivits on Audiofile.
JK: Like seemingly everyone else, he was on a whole bunch of labels.